The cover page for the proposal submitted to Pentacle's Play Reading Committee and Board of Directors in 2000, the first year the show was suggested

John Freeman is the mastermind of a gleaming city he created.

Above ground he and his elitists live a life of luxury and pleasure. The workers who slave away at the machines which power the city live in an underground hell.

The workers' only solace is Maria who preaches patience for the time when they will be rescued from their torment.

When smuggling her young charges up to the surface to take a look at the sun, she meets Steven who is Freeman's son. He follows Maria to the machine rooms and there sees for himself the horror of the workers' lives.

When Steven falls in love with Maria, Freeman the mastermind vows to discredit her.

Warner, an inventor and scientist, gives Maria's face to a robot he has built. The robot, Futura, descends to the machine rooms and sows discord.

When the workers realise the deception, they destroy Futura and abandon the machines.

Thinking his son is dead in the riot, Freeman destroys his city.

But Steven and Maria save the workers and their children. They are left in the ruins of the city which will be rebuilt into one where all men and women will be equals.

The show opened March 8, 1989, at the Picadilly Theatre in London. In a competetive season "Metropolis" had a respectable run of six months.

British stars Judy Kuhn and Brian Blessed headlined.

Reviews said --"lavish new musical rousing and even spellbinding"--and that it was "a triumphant new musical" "a passionate love story" "breathtaking" and "staggering."

eleven men

seven women

four children

twenty two total

Unit set of the machinery that runs the futuristic city

four rolling set pieces for various locations

synthesizer based

science fiction theme tying in with the year 2001

dramatically compelling music

visually stunning

strong love story

clear metaphor for the dehumanizing effect of computers

Randy Bowser has known and loved the film since a teen

Tony Zandol is excited by the prospect of adapting for stage the famous robot and other Art Deco elements of the film

Writing out such an outline is the first step for all directors would like to suggest a "special project" for the theatre's eight play season.

Any show that has an unusually large cast, all musicals, and shows that have special needs, such as Shakspearean plays, are all considered "special projects," as opposed to the "straight plays" with more modest production demands and smaller casts. Those non-musical dramas and comedies are selected independently of the directors, who later propose to direct plays from the chosen season.

The musicals and other "special projects" are package deals including both the property and the director, since it would be foolish for the theatre to put a large and difficult production on the season without knowing if a director is willing to tackle it.

Additional background, illustrations, recordings, and a budget proposal are also brought by the director to the committee and the Board, as part of the process of suggesting a project.

Not uncommonly for such proposals, "Metropolis" was brought up two years in a row before being enthusiastically chosen as part of the season.

The deciding factor was that Joseph Brooks, the show's composer and librettest, was found to be willing to have Pentacle produce his musical and to personally work with Randy Bowser, the director and "orchestra" for "Metropolis.

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